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{"work":{"id":46060612,"created_at":"2021-04-08T12:44:30.743-07:00","from_world_paper_id":null,"updated_at":"2025-01-09T20:28:24.250-08:00","_data":{"ai_abstract":"Marina Prusac's revised edition of \"From Face to Face\" explores the practices of recarving Roman portraits during late antiquity, with a focus on their social implications and stylistic expressions. Her research, based on an extensive analysis of 508 recarved portraits, reveals the normativity of recarving due to limited access to new materials, while emphasizing the diverse factors influencing the styles of these portraits. The book's effort to consolidate scattered sources significantly contributes to the discourse on this lesser-studied aspect of Roman artistic practices.","publication_date":"2019,,","publication_name":"Eirene. Studia Graeca et Latina"},"document_type":"book","pre_hit_view_count_baseline":null,"quality":"high","language":"en","title":"Review, Prusac M. From Face to Face: Recarving of Roman Portraits and the Late-Antique Portrait Arts. Second, revised edition. Leiden – Boston, Brill (Monumenta Graeca et Romana, 18) 2016","broadcastable":true,"draft":false,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [830615]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loginModal = {}; window.loginModal.appleClientId = 'edu.academia.applesignon'; window.userInChina = "false";</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":66213827,"attachmentType":"pdf"}"><img alt="First page of “Review, Prusac M. From Face to Face: Recarving of Roman Portraits and the Late-Antique Portrait Arts. Second, revised edition. Leiden – Boston, Brill (Monumenta Graeca et Romana, 18) 2016”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/66213827/mini_magick20220703-21776-1gh1v6k.png?1656863063" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/images/single_work_splash/adobe_icon.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Review, Prusac M. From Face to Face: Recarving of Roman Portraits and the Late-Antique Portrait Arts. Second, revised edition. Leiden – Boston, Brill (Monumenta Graeca et Romana, 18) 2016</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="830615" href="https://amu.academia.edu/EwaBugaj"><img alt="Profile image of Ewa Bugaj" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/830615/290401/349774/s65_ewa.bugaj.jpg" />Ewa Bugaj</a></div><div class="ds-work-card--detail"><p class="ds-work-card--detail ds2-5-body-sm">2019, Eirene. Studia Graeca et Latina</p><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">5 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 46060612; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=46060612"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { try { const viewCountNumber = parseInt(viewCount, 10); if (viewCountNumber === 0) { // Remove the whole views element if there are zero views. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); return; } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (!viewCountBody) { throw new Error('Failed to find work views element'); } viewCountBody.textContent = `${commaizedViewCount} views`; } catch (error) { // Remove the whole views element if there was some issue parsing. document.getElementById('work-metadata-view-count')?.parentNode?.remove(); throw new Error(`Failed to parse view count: ${viewCount}`, error); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--detail ds2-5-body-md">AI-generated Abstract</p><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Marina Prusac's revised edition of "From Face to Face" explores the practices of recarving Roman portraits during late antiquity, with a focus on their social implications and stylistic expressions. Her research, based on an extensive analysis of 508 recarved portraits, reveals the normativity of recarving due to limited access to new materials, while emphasizing the diverse factors influencing the styles of these portraits. The book's effort to consolidate scattered sources significantly contributes to the discourse on this lesser-studied aspect of Roman artistic practices.</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":66213827,"attachmentType":"pdf","workUrl":"https://www.academia.edu/46060612/Review_Prusac_M_From_Face_to_Face_Recarving_of_Roman_Portraits_and_the_Late_Antique_Portrait_Arts_Second_revised_edition_Leiden_Boston_Brill_Monumenta_Graeca_et_Romana_18_2016"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":66213827,"attachmentType":"pdf","workUrl":"https://www.academia.edu/46060612/Review_Prusac_M_From_Face_to_Face_Recarving_of_Roman_Portraits_and_the_Late_Antique_Portrait_Arts_Second_revised_edition_Leiden_Boston_Brill_Monumenta_Graeca_et_Romana_18_2016"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div><div class="ds-signup-banner-trigger-container"><div class="ds-signup-banner-trigger ds-signup-banner-trigger-control"></div></div><div class="ds-signup-banner ds-signup-banner-control"><div id="ds-signup-banner-close-button"><button class="ds2-5-button ds2-5-button--secondary ds2-5-button--inverse"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">close</span></button></div><div class="ds-signup-banner-ctas"><img src="//a.academia-assets.com/images/academia-logo-capital-white.svg" /><h4 class="ds2-5-heading-serif-sm">Sign up for access to the world's latest research</h4><button class="ds2-5-button ds2-5-button--inverse ds2-5-button--full-width js-swp-download-button" data-signup-modal="{"location":"signup-banner"}">Sign up for free<span class="material-symbols-outlined" style="font-size: 20px" translate="no">arrow_forward</span></button></div><div class="ds-signup-banner-divider"></div><div class="ds-signup-banner-reasons"><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Get notified about relevant papers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Save papers to use in your research</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Join the discussion with peers</span></div><div class="ds-signup-banner-reasons-item"><span class="material-symbols-outlined" style="font-size: 24px" translate="no">check</span><span>Track your impact</span></div></div></div><script>(() => { // Set up signup banner show/hide behavior: // 1. 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Such recutting was a practical way of conserving sculptural works in marble, an expensive commodity in the ancient world. In the last thirty years or so, scholars have become more cognizant of the fact that a number of portraits, not previously recognized as recut, were indeed reworked in some way. But even when there is general agreement that a sculpture as been refashioned, debate has continued not only as to whose portrait was recut but also which portrait types of that person had served for the original image. This paper examines some of the problems in detecting recutting and how the new digital technology might be used to help us understand better the process of recutting marble portraits. More specifically, three-dimensional models of both recut and unrecut portraits can now be easily created by using a portable scanner recently developed for plastic surgery. This new technology can offer new insights into how portraits were refashioned. For example, a three-dimensional image of a portrait suspected to have been recut can be projected inside an unrecut portrait in order to determine how recutting might have been executed. Also discussed in this paper are some of the limitations in the application of this three-dimensional digital technology.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"John Pollini, \"Recutting Roman Portraits: Problems in Interpretation and the New Technologiy in Finding Possible Solutions\" in MAAR 55 (2010) 24-44.","attachmentId":65041912,"attachmentType":"pdf","work_url":"https://www.academia.edu/44584464/John_Pollini_Recutting_Roman_Portraits_Problems_in_Interpretation_and_the_New_Technologiy_in_Finding_Possible_Solutions_in_MAAR_55_2010_24_44","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/44584464/John_Pollini_Recutting_Roman_Portraits_Problems_in_Interpretation_and_the_New_Technologiy_in_Finding_Possible_Solutions_in_MAAR_55_2010_24_44"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="2" data-entity-id="83765932" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/83765932/E_Varner_Mutilation_and_Transformation_Damnatio_Memoriae_and_Roman_Imperial_Portraiture_Monumenta_Graeca_et_Romana_10_Leiden_Boston_Brill_2004_Pp_340_illus_ISBN_90_04_13577_4_160_00">E. Varner, Mutilation and Transformation. Damnatio Memoriae and Roman Imperial Portraiture (Monumenta Graeca et Romana 10). Leiden/Boston: Brill, 2004. Pp. 340, illus. ISBN 90-04-13577-4. £ 160.00</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="226372" href="https://st-andrews.academia.edu/CarlosMachado">Carlos Machado</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Journal of Roman Studies, 2007</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"E. Varner, Mutilation and Transformation. Damnatio Memoriae and Roman Imperial Portraiture (Monumenta Graeca et Romana 10). Leiden/Boston: Brill, 2004. Pp. 340, illus. ISBN 90-04-13577-4. £ 160.00","attachmentId":89004962,"attachmentType":"pdf","work_url":"https://www.academia.edu/83765932/E_Varner_Mutilation_and_Transformation_Damnatio_Memoriae_and_Roman_Imperial_Portraiture_Monumenta_Graeca_et_Romana_10_Leiden_Boston_Brill_2004_Pp_340_illus_ISBN_90_04_13577_4_160_00","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/83765932/E_Varner_Mutilation_and_Transformation_Damnatio_Memoriae_and_Roman_Imperial_Portraiture_Monumenta_Graeca_et_Romana_10_Leiden_Boston_Brill_2004_Pp_340_illus_ISBN_90_04_13577_4_160_00"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="3" data-entity-id="112555915" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/112555915/Rethinking_re_carving_revitalising_Roman_portraits_in_the_third_century">Rethinking re-carving: revitalising Roman portraits in the third century</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="3050583" href="https://emory.academia.edu/EricVarner">Eric Varner</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Acta ad archaeologiam et artium historiam pertinentia</p><p class="ds-related-work--abstract ds2-5-body-sm">Research on the re-use of Roman material culture has often focused on repurposed architectural elements or re-carved portraits, and new approaches have increasingly focused on culture, context and memory with praxis, agency meaning, materiality, and reception as key issues. Sculpted portraits have been key players in the scholarly discourse beginning with the portraits of Rome’s ‘bad emperors’ such as Caligula, Nero, and Domitian reconfigured as a result of damnatio memoriae in the first century. The third century, however, proves to be a critical moment that witnesses a shift towards affirmative interventions that seek to refurbish and access the positive and legitimising aspects of the original images. Portraits are now redacted from likenesses of ‘good emperors’ such as Augustus, Hadrian, and Trajan to invoke the venerable authority of the imperial past. Private portraiture in the third century also provides evidence for secondary interventions not motivated by denigration but by...</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Rethinking re-carving: revitalising Roman portraits in the third century","attachmentId":109750878,"attachmentType":"pdf","work_url":"https://www.academia.edu/112555915/Rethinking_re_carving_revitalising_Roman_portraits_in_the_third_century","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/112555915/Rethinking_re_carving_revitalising_Roman_portraits_in_the_third_century"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="4" data-entity-id="68614266" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/68614266/Recarving_Reuse_and_Re_Membrance_A_Case_Study_into_Late_Antique_Portraiture_Practices">Recarving, Reuse, and Re-Membrance: A Case Study into Late-Antique Portraiture Practices</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="10593365" href="https://bu.academia.edu/BaileyBenson">Bailey Benson</a></div><p class="ds-related-work--abstract ds2-5-body-sm">As commemorative monuments, portraits reveal a great deal about Roman memory practices, especially when one considers the numerous examples of recarved and recycled portraiture. Technical analysis of these recut portraits reveals the ways in which Roman sculptors chipped away old identities in favor of new ones, while never entirely destroying the initial likeness. Beginning in the third century, there was an increase in portraiture reuse – a trend that continued into Late Antiquity. Along with this increase in recarving, portraiture production centers began to shift to the eastern territories of the Roman Empire. Outside of Asia Minor, Athens became a leading center for sculpture production. A portrait head currently in the collection of the Museum of Fine Arts, Boston, represents an interesting case study for exploring the market for reused portraits in late-antique Athens. Originally carved during the reign of the Antonine emperors, the head experienced at least two principal instances of recarving. It was first recarved in the mid-third century and may be associated with a major campaign of portraiture reuse in Athens. At this time, the voluminous curls of the original portrait were cut short in the style favored by the reigning Roman emperors – the so-called Soldier Emperors. Then, around the year 400, the eyes were recut and the head gained the flat-eyed stare characteristic of late-antique portraits. By examining the technical traces of this portrait, we can gain insight not only into the late-antique market for recarved portraits but also the changing relationship between portrait, honorand, and late Roman memory practices.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Recarving, Reuse, and Re-Membrance: A Case Study into Late-Antique Portraiture Practices","attachmentId":79035757,"attachmentType":"pdf","work_url":"https://www.academia.edu/68614266/Recarving_Reuse_and_Re_Membrance_A_Case_Study_into_Late_Antique_Portraiture_Practices","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/68614266/Recarving_Reuse_and_Re_Membrance_A_Case_Study_into_Late_Antique_Portraiture_Practices"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="90259061" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/90259061/Between_the_Living_and_the_Dead_Use_Reuse_and_Imitation_of_Painted_Portraits_in_Late_Antiquity">Between the Living and the Dead: Use, Reuse, and Imitation of Painted Portraits in Late Antiquity</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="55907124" href="https://univie.academia.edu/GraceStafford">Grace Stafford</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Journal of Roman Archaeology, 2022</p><p class="ds-related-work--abstract ds2-5-body-sm">Painted portraits on wood and cloth were common in the ancient world and prized as authentic and lifelike images. Affordable, portable, and desirable, they were an important form of representation, but rarely survive in the archaeological record outside Egypt. This article approaches the study of painted portraiture in a way that does not necessitate the survival of the images themselves. It analyzes evidence for the use, reuse, and imitation of painted portraits in the catacombs of 4th-c. Rome by examining the remains of settings and attachments for portraits, the shadows left by them on walls, and portraits in other media which imitate panel paintings. The article considers why painted portraits were so effective in funerary contexts and what connection they may have had to domestic portraiture. It also explores the development of panel portrait imitation through the phenomenon of the “square nimbus.”</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Between the Living and the Dead: Use, Reuse, and Imitation of Painted Portraits in Late Antiquity","attachmentId":98947387,"attachmentType":"pdf","work_url":"https://www.academia.edu/90259061/Between_the_Living_and_the_Dead_Use_Reuse_and_Imitation_of_Painted_Portraits_in_Late_Antiquity","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/90259061/Between_the_Living_and_the_Dead_Use_Reuse_and_Imitation_of_Painted_Portraits_in_Late_Antiquity"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="101375229" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/101375229/Toward_a_new_interpretation_of_Roman_Art_BODY">Toward a new interpretation of Roman Art BODY</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1780184" href="https://padua.academia.edu/AntonioCorso">Antonio Corso</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Toward a new interpretation of Roman Art, 2022</p><p class="ds-related-work--abstract ds2-5-body-sm">this book is a collection of lections delivered in the Lomonosov University, Moscow, on Roman themes. The conversion of the lections to chapters has been helped very much by Nadezda Nalimova and her assistants</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Toward a new interpretation of Roman Art BODY","attachmentId":101934174,"attachmentType":"pdf","work_url":"https://www.academia.edu/101375229/Toward_a_new_interpretation_of_Roman_Art_BODY","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/101375229/Toward_a_new_interpretation_of_Roman_Art_BODY"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="13590931" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/13590931/_Early_Modern_Funerary_Portraits_Painted_on_Metal_and_Stone_Supports_Results_of_Field_Work_in_Rome_">“Early Modern Funerary Portraits Painted on Metal and Stone Supports: Results of Field Work in Rome” </a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="6115034" href="https://independentscholar.academia.edu/BradleyCavallo">Bradley Cavallo</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"“Early Modern Funerary Portraits Painted on Metal and Stone Supports: Results of Field Work in Rome” ","attachmentId":38082943,"attachmentType":"pdf","work_url":"https://www.academia.edu/13590931/_Early_Modern_Funerary_Portraits_Painted_on_Metal_and_Stone_Supports_Results_of_Field_Work_in_Rome_","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/13590931/_Early_Modern_Funerary_Portraits_Painted_on_Metal_and_Stone_Supports_Results_of_Field_Work_in_Rome_"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="2237050" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/2237050/Portraits_and_Icons_in_Late_Antiquity">Portraits and Icons in Late Antiquity</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="2841179" href="https://princeton.academia.edu/KatherineMarsengill">Katherine Marsengill</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Portraits and Icons in Late Antiquity","attachmentId":30289645,"attachmentType":"pdf","work_url":"https://www.academia.edu/2237050/Portraits_and_Icons_in_Late_Antiquity","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/2237050/Portraits_and_Icons_in_Late_Antiquity"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="6949547" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/6949547/Schultz_Review_of_S_Dillon_Ancient_Greek_Portrait_Sculpture_Contexts_Subjects_and_Styles_BMCR_2008_04_07_2008_">Schultz (Review of S. Dillon. Ancient Greek Portrait Sculpture. Contexts, Subjects, and Styles. BMCR 2008.04.07 [2008])</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="5194977" href="https://ndsu.academia.edu/PeterSchultz">Peter Schultz</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Bryn Mawr Classical Review, 2008</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Schultz (Review of S. Dillon. Ancient Greek Portrait Sculpture. Contexts, Subjects, and Styles. 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Dacia, XXXVI, 1992.","attachmentId":34023556,"attachmentType":"pdf","work_url":"https://www.academia.edu/7441430/Roman_portraiture_from_Durostorum_and_its_territory_Dacia_XXXVI_1992","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-related-work-grid-card-view-pdf" href="https://www.academia.edu/7441430/Roman_portraiture_from_Durostorum_and_its_territory_Dacia_XXXVI_1992"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-related-work-sidebar-card" data-collection-position="3" data-entity-id="37819282" data-sort-order="default"><a class="ds-related-work--title js-related-work-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/37819282/Review_F_Queyrel_R_von_den_Hoff_eds_La_vie_des_portraits_grecs_Statues_portraits_du_Ve_au_Ier_si%C3%A8cle_av_J_C_Usage_et_re_contextualisations_Paris_2017_">Review: F. 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Bauer and C. Witschel (eds.), Statuen und Statuensammlungen in der Spätantike – Funktion und Kontext (Reichert, 2007), 27-43.</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="78007" href="https://oxford.academia.edu/PeterStewart">Peter Stewart</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"'Continuity and Tradition in Late Antique Perceptions of Portrait Statuary', in F.A. Bauer and C. 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On some funerary portraits from Roman Phoenicia, in Blömer, M. et Raja, R. (dir.). Funerary Portraiture in Greater Roman Syria (Studies in Classical Archaeology, 1). Turnhout : Brepols Publishers, p. 165 – 196.</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="33006238" href="https://au.academia.edu/RubinaRaja">Rubina Raja</a><span>, </span><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="1142199" href="https://cnrs.academia.edu/BilalAnnan">Bilal Annan</a></div><p class="ds-related-work--metadata ds2-5-body-xs"> Funerary Portraiture in Greater Roman Syria, 2019</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"2019 - Petrified memories. On some funerary portraits from Roman Phoenicia, in Blömer, M. et Raja, R. (dir.). 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(2015), Displaying Sculpture in Rome, in P. Destrée, P. Murray (eds.), Companion to Ancient Aesthetics, Blackwell Companions to the Ancient World. New Jersey: John Wiley & Sons, Inc.: 248-261.</a><div class="ds-related-work--metadata"><a class="js-related-work-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="89124" href="https://newcastle.academia.edu/TheaRavasi">Thea Ravasi</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Destrée P., Murray P. (eds), Companion to Ancient Aesthetics, First Edition, Blackwell Companions to the Ancient World, 2015</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Ravasi, T. (2015), Displaying Sculpture in Rome, in P. Destrée, P. Murray (eds.), Companion to Ancient Aesthetics, Blackwell Companions to the Ancient World. 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